When Creativity Meets Economics and Images Become a Form of Power

The 4th edition of FinAB offered both an admiring and critical perspective on culture and creativity. As a communication agency, we paid particular attention to the intellectual segment of the event, a space dedicated to reflecting on the challenges facing Africa’s cultural and creative industries. 

Through panels and masterclasses, artists, experts, and institutions explored concrete topics such as economic models, branding, and the structuring of cultural value chains. 

Among the highlights was the panel titled “Creative Economy & the Industrialization of the Arts”, which brought together prominent figures such as Didier Awadi and Alain Laerond. The discussions highlighted the challenges of structuring and professionalizing the sector, while also emphasizing the need to develop sustainable economic models. 

For us, as communication professionals, these conversations highlight a crucial point : beyond artistic creation, culture also relies on the ability to promote and position both artworks and artists. Branding and communication strategy therefore become key levers for structuring and amplifying African cultural industries. 

A Work Must Have a Birth Certificate 

Artist and producer Didier Awadi laid out a fundamental principle: legal formalization is the first step toward any form of industrialization. “A work must have a birth certificate,” he reminded the audience. In other words, without declaration, protection, and proper contractual management, there can be no viable economy. He also highlighted the importance of tools provided by the World Intellectual Property Organization, particularly the CLIP platform, which helps creators better understand and manage their contracts. The message is strategic: intellectual property is the invisible infrastructure of creative value. 

This idea of infrastructure was further explored by Alain Laerond, an international technical expert in cultural and creative industries. He emphasized that the “creative economy” is not a homogeneous entity but rather a set of multiple ecosystems driven by actors whose primary motivation is artistic. Creators, he noted, are first and foremost passionate individuals. Economic considerations are rarely their starting point. Yet the economic life of a work begins at its creation and expands through its distribution. And it is precisely distribution that often represents the weakest link. Many creators manage to secure funding for production but struggle to access effective dissemination channels, trapping them in a cycle of production without real growth. The reflection initiated by ADAC Benin on creating distribution spaces and tools illustrates the urgent need to invest in this missing infrastructure.

The analysis of Vamossa Diomandé, network manager at HIT Radio Africa, provided a broader perspective. According to him, Africa’s creative economy remains at an embryonic stage—not due to a lack of potential, but because of insufficient organization. To generate value, stakeholders must build legal structures, analyze their competitive environment, and develop clear strategies. “An idea without strategy is empty,” he stated. His remarks resonate strongly with a core concern for CKLE : creativity alone is not enough; it must be supported by systems and strategic choices. 

Finally, Jéronime Zanmassou highlighted that wealth creation in the arts is also rooted in identity—specifically, heritage. Heritage nourishes the various branches of the cultural industry, enables differentiation, and becomes a genuine economic resource. Initiatives such as the Mur du Port in Cotonou or the Vodun Days demonstrate how heritage can generate opportunities for many creatives. Yet once again, the issue of distribution remains central. In this context, digital technology appears to be a key lever for increasing the visibility of artworks and expanding their reach. 

This panel confirmed a strong intuition : the main challenge for cultural and creative industries in West Africa is not creation itself. Rather, it lies in structuring the value chain—from creation to monetization, including protection, production, and distribution. 

For us, this reflection extends far beyond the cultural sector. 

But beyond economic models and the infrastructure required for the development of cultural industries, another question arises: what actually happens to artworks once they exist and begin circulating in the public space? 

If the creative economy structures the production of works, it is the images, narratives, and emotions they convey that ultimately give them their true power.

This is especially true for cinema, an art form capable not only of entertaining but also of questioning society and supporting major causes. This raises an important question : how does African cinema use its evocative power to serve major causes ? 

The Power of Images – Cinema in the Service of Major Causes 

Unlike other more elitist art forms, cinema reaches a broad and diverse audience. Through visual storytelling, it can recount a story, revisit historical events, or denounce social and political injustices. 

Over time, cinema has therefore become a powerful tool for engagement. Many films have helped raise public awareness about major issues such as human rights, social inequalities, environmental crises, and political conflicts. 

Reflecting on the power of images also leads us to examine the current reality of African cinema. While cinema has an exceptional ability to portray societies, question collective imaginaries, and support important causes, its development on the continent still faces several structural challenges. 

The first major obstacle concerns funding. In many African countries, the film industry operates with limited resources, and public or private support mechanisms remain insufficiently structured. Producing a film requires significant technical, human, and logistical resources, and access to these resources is often difficult for local filmmakers and producers. As a result, many creators are forced to seek international funding or work with extremely limited budgets. 

The second major challenge lies in distribution infrastructure. In several countries across the continent, cinema theaters remain scarce and are often concentrated in major cities, limiting the circulation of films among the wider public. This situation creates a paradox: films exist, but they struggle to reach their audiences. Distribution therefore becomes a central issue in structuring the African film industry. 

This challenge is compounded by the growing competition from international productions and major streaming platforms, which dominate distribution channels and capture a significant share of viewers’ attention. In such a saturated media landscape, African films must not only exist but also stand out. 

Despite these constraints, African cinema is currently experiencing a remarkable momentum driven by a new generation of creators. Many young directors and producers are striving to renew narrative and aesthetic forms while telling stories deeply rooted in African realities. 

The example of Kismath Baguiri, whose presence on this panel clearly illustrated this dynamic, is particularly telling. Actress and director of the cult series Charles Ornel, she continues to establish herself through her work while making a significant contribution to the development of the audiovisual sector. 

Film festivals also play a crucial role in this ecosystem. They provide spaces for visibility, encounters, and recognition for African filmmakers. These events enable works to circulate, connect with international partners, and create opportunities for co-production. 

At the same time, there is a growing interest in training and professionalizing film-related professions. Increasingly, local initiatives, workshops, and training programs are emerging to support young talents in areas such as screenwriting, directing, production, and distribution. Some pioneers had already anticipated these needs and helped create spaces for training and expression for new generations. This is the case with institutions such as the ISMA (Institut Supérieur des Métiers de l’Audiovisuel), founded by Marcellin Zannou, which actively contributes to training young professionals in cinema and audiovisual fields. 

As a communication agency, our presence at FinAB was not limited to simply following the festival’s activities. Our perspective on these issues is both that of an observer and an active participant. Because ultimately, the question of distribution and visibility for creative works is also the question of the narrative that is built around them. A film may be powerful, but without a communication strategy capable of bringing it to its audience, its impact remains limited. 

That is precisely where CKLE comes in : transforming cultural projects into powerful stories capable of circulating, resonating, and leaving a lasting impression.